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Being Black in Wilcannia

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Being Black in Wilcannia Articulating Culture(s): Being Black in Wilcannia Lorraine Douglas Gibson BSocSc (Hons) A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy Department of Anthropology Division of Society, Culture, Media and Philosophy Macquarie University Sydney MARCH 2006 Ethics approval Reference HE28JUN2002-DO1837. HIGHER DEGREE THESIS AUTHOR'S CONSENT (DOCTORAL) This is to certify that I, .. being a candidate for the degree of Doctor of am aware of the policy of the University relating to tljfe retention and use of higher degree theses as contained in the University's Doctoral Rules generally, and in particular Rule 7(10). In the light of this policy and the policy of the above Rules, I agree to allow a copy of my thesis to be deposited in the University Library for consultation, loan and photocopying forthwith. M.iz Signature of Witness Signatur^of Candidate Dated this day of tfaa<L. 2oq^ Office Use Only The Academic Senate on to OC**kxr 2oo€ resolved that the candidate had satisfied requirements for admission to the degree of "pOCJ^T-oV^Vfc<^DLty This thesis represents a major part of the prescribed program of study. Copyright in relation to this Thesis Under the Copyright Act 1968 (several provision of which are referred to below), this material must be used only under the normal conditions of scholarly fair dealing for the purposes of research, criticism or review. In particular no results or conclusions should be extracted from it, nor should it be copied or closely parahrased in whole or in part without the written consent of the author. Proper written acknowledgement should be made for any assistance obtained from this material. Under Section 35 (2) of the Copyright Act 1968 'the author of a literary, dramatic, musical or artistic work is the owner of any copyright subsisting in the work'. By virtue of Section 32 (1) copyright 'subsists in an original literary, dramatic, musical or artistic work that is unpublished' land of which the author was an Australian citizen, an Australian protected person or a person resident in Australia. The Act, by Section 36(1) provides: 'Subject to this Act, the copyright in a literary, dramatic, musical or artistic work is infringed by a person who, not being the owner of the copyright and without the licence of the owner of the copyright, does in Australia, or authorises the doing in Australia of, any act comprised in the copyright'. Section 31 (1) (a) (i) provides that copyright includes the exclusive right to 'reproduce the work in a material form'. Thus, copyright is infringed by a person who, not being the owner of the copyright, reproduces or authorises the reproduction of a work, or of more than a reasonable part of the work, in a material form, unless the reproduction is a 'fair dealing' with the work 'for the purpose of research or study' as further defined in Sections 40 and 41 of the Act Section 51 (2) provides that "Where a manuscript, or a copy, of material of other similar literary work that has not been published is kept in a library of a university or other similar institution or in an archives, the copyright in the material or other work is not infringed by the making of a copy of the material or other work by or on behalf of the officer in charge of the library or archives if the copy is supplied to a person who satisfies an authorized officer of the library or archives that he requires the copy for the purpose of research or study'. * Thesis' includes ' treatise', ' dissertation' and other similar productions. Cover Image: 'Welcome to Wilcannia', lino print by Badger Bates Table of Contents Table of Images Hi Table of Maps v Abstract vii Acknowledgements xi Prologue 1 Introduction - Coming to Wilcannia 6 Normalising Categories - Pre-Conceptions about being Black in New South Wales 9 Just Any Day in Wilcannia 11 Wilcannia - A Little History 14 Aboriginal people of Wilcannia - Past and Present 18 Non-Aboriginal People in Wilcannia 24 Traditional Culture and Detribalised Aborigines - What's in a Name? 25 The Anthropology of Settled Australia 28 The 'Law' and Tradition - Art and The Dreaming 33 Some Effects on Aborigines 37 Why Wilcannia? 40 Reflexive Hooks - Locating Myself and Being Located 43 On Being Scottish 44 Thesis Description 47 Chapter 1: Wilcannia - Plenty of Aborigines, but no Culture 48 Part A: A Black for all Seasons 48 A Working Model of Culture 51 Continuing Intersections 52 Stereotypes and Their Affects - Three Ethnographic Examples 59 Part B: The Place of Art in Culture 63 Conflating Aboriginal Art and Culture 65 Locating Assumptions: Timeless Mystic or Drunken Bastard 69 Producing Art and Culture 71 Chapter2-Who You Is? 77 Occupation and Social Placement 78 Work and Identity 86 Work and Leisure 90 Work, Productivity and Social Value - Different Interpretations 93 Chapter 3. Cultural Values: Ambivalences and Ambiguities 106 Work and Intercultural Identity 107 Coconuts 113 Caring and Sharing 119 Variations in Access to Resources and Attitudes to Caring and Sharing 125 Leaving Wilcannia and the Ambiguity of Identity 132 l Chapter 4. Praise, Success and Opportunity 137 Monitoring for Praise, Success and Opportunity - "Our Way" 140 Praise and Adults 143 Egalitarianlsm and Getting Above Yourself. 146 The Language of the Tall Poppy 148 The Special Case of Artists 152 Chapter 5. "Art an' Culture: the Two Main Things, Right?" 154 Artist is Not Who or What I Am 155 'Signs' and 'Practices' of Art in Wilcannia - Past and Present 158 Art as a Signifying Cultural Practice 164 Art and Culture - A Meaningful Liaison 168 Emu Eggs - Depictions and Their Changing Interpretations 171 What Art 'Does' and its Relationship to 'Culture' 176 Place Lines - Art Styles and Subject Matter as a Means of Affirming Cultural Identity 181 Chapter 6 - Big Murray Butcher: 'We Still Doin' It' 186 Ethnography as Partial and Positioned. 186 'We Still Doin' the Same Designs on Our Art Work' 191 Art as Performance and Renewal 194 Museums and Cylcons - Refle(x)ion and Motivation 200 Objects and Personhood 205 Chapter 7 - Granny Moisey's Baby: The Art of Badger Bates 215 One Man's Art and Culture 215 Compelling Art 221 Art From Early Days Till Now - Context and Circumstance 225 Art Media 226 Art Talk 230 For 'My White Way'and 'My Black Way' 234 Personal Influence and Culture 237 Epilogue 244 Culture: the Holy Grail 244 Art: a New Way of Being Aboriginal 249 Appendices 253 Appendix 1 253 Appendix 2. 253 Appendix 3 255 Other matters for consideration 256 Bibliography 257 a Table of Images Image 1. The Wilcannia Bridge and Darling River (in drought) 2003 1 Image 2. The sign listing 'Things to see and do in Wilcannia', Myers Street Wilcannia 3 Image 3. Remains of the old Wilcannia wharf. 14 Image 4. Central Darling Shire Council Building (1890), Reid Street Wilcannia 15 Image 5. Derelict shops in Reid Street 16 Image 6. The IGA supermarket in the 'wee small hours' 16 Image 7. The Club Hotel (the pub) on the corner of Myers and Reid Streets 17 Image 8. Wilcannia Central School, Hood Street 17 Image 9. The 'Mallee' from the top of the water towers 20 Image 10. Wilcannia town from the top of the water towers 21 Image 11. Mutawintji National Park 23 Image 12. Lino print l Ngatji Nguku Minger' {Ngatji [Rainbow Serpent] at his waterhole) by Badger Bates 39 Image 13. Sand painting of Ngatji with her eggs by Phillip Bates 39 Image 14. The Darling River downriver from Wilcannia 41 Image 15. Having a sing-along at the 'Mission' 46 Image 16. Rock engraving of a hunter at Mutawintji 69 Image 17. Stencils at Mutawintji 70 Image 18. The Old 'Mobil' site 82 Image 19. Cyril Hunter and his grandson Chris, fishing at Scobie's hole 128 Image 20. The now closed Kaathiri Aboriginal Arts and Craft Centre, Reid Street Wilcannia 159 Image 21. Painted sign for Pamtu (cod) art centre by Karen Riley 160 Image 22. Painting, (gloss paint on plywood) stacked against wall in old public house/hotel 161 Image 23. Painting (acrylic on board) in old public house/hotel 162 Image 24. Margaret (Miss Marg) Mitchell incorporates emu feathers into mobiles and hangings together with painted seed pods and beads 162 Image 25. Acrylic painting by Phillip Bates showing 'spirit man' and thuli (sand goanna) 166 Image 26. Acrylic painting which Phillip says is of him and his 'woman' and 'kids' 167 iii Image 27. Rock art stencils at Mutawintji 173 Image 28. Lino print 'Life on the Darling' by Badger Bates 174 Image 29. Emu egg carved by Badger Bates 174 Image 30. Acrylic painting on canvas by Willie Don Hunter 177 Image 31. Acrylic on canvas painting by Willie Don Hunter 178 Image 32. Acrylic on canvas by Phillip Bates 179 Image 33. Acrylic on canvas showing Ngatji by Wayne Ebsworth 183 Image 34. Acrylic on board showing freshwater turtles by Willie Don Hunter 183 Image 35. Murray Butcher standing in amongst the 'poached egg daisies' at 'one mile sandhill' east of the Darling River at Wilcannia 189 Image 36. Acrylic painting on canvas of 'Makwara and Kilpara' (the two Barkindji Moieties) by Murray Butcher 192 Image 37. Pen on paper drawing, 'Nan and Pop coming to Wilcannia' by Murray Butcher 195 Image 38. Pen drawing on paper, 'The making of the Darling' by Murray Butcher 196 Image 39. 'A's painting, acrylic on board by Murray Butcher 197 Image 40. Pen drawing on paper by Murray Butcher. 201 Image 41.
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